Traditional subtractive synthesis starts with a complex waveform and then filters it down. A wavefolder allows for the opposite: start with simple waveforms and then fold it over itself to create extremely rich and complex timbres. Animate the fold and symmetry controls with CV to add even more life and movement to the sounds.
Wavefolding is a technique for reshaping waveforms that (as its name implies) actually folds a wave’s peaks back toward center whenever those peaks exceed a certain threshold. Unlike a typical distortion circuit that simply clips any waveform that exceeds some threshold (resulting in increasingly harsh and uniform timbres), wavefolding creates all manner of complex waveshapes with rich, subtle, intertwined harmonics. The addition of CV over the folding parameters yields a shifting, otherworldly sweep of sonic texture that is both musical and unique.
Fold control with a CV input and dedicated attenuator.
Thru-zero symmetry control with a bipolar CV input and dedicated attenuator.
Stages switch to select 2, 4 or 6 stages of folding.
Trimmer on back to set the maximum drive amount in order to limit the range of the timbre shaping to a more subtle amount if needed.
DC-coupled inputs so you can also feed CV to be folded.
The µFold is a collaborative design with David G. Dixon.
We looked very closely at some of the most loved timbre shaping circuits in classic synth modules — analyzing not just their electrical implementations, but also how they sounded and how efficiently they operated. µFold is an amalgamation of our knowledge and research, and is designed to produce a wide range of timbres while utilizing the most versatile and intuitive set of controls.
Combining a µFold with one of the Intellijel Dixie and Rubicon oscillators enables you to achieve the extremely rich palette of sounds normally associated with complex oscillators, but with far greater flexibility and sonic depth. Add a filter, such as the Polaris or Morgasmatron, and you’ll unleash some serious analog mayhem.
The Erbe-Verb is more than a collection of reverb algorithms or presets, it is a unique, modeless, continuously variable reverb algorithm with complete voltage control. Typical reverb types such as plate, room, hall, shimmer and others may be programmed by adjusting the knobs. The continuously variable algorithm allows for hybrid and unreal spaces to be found. Traveling between spaces is possible by modulating the algorithm or manually sweeping parameters. More than an end-of-chain effects unit, it’s a whole new building block for modular synthesis. Like the Echophon, it’s coded by Tom Erbe of soundhack.
All the essentials to control and sync your rack to your computer, iPhone/iPad, or hardware MIDI device. No menu diving or configuration scripts, just two buttons. Get crazy with external modulation and sequencers, or just sync your rack’s clock from your MIDI bus.
The Multiple is a simple but important module that allows for sending a signal to multiple destinations. Within the Make Noise system the Multiple may also be used for combining clock, gate and pulse signals together to create interesting timing sources (in other words, it acts as a Gate combiner aka logic OR circuit). It has 9 inter-connected sockets that may be split into different group combinations depending upon how it is patched. The jacks circled in white will make or break the interconnects between the 3 groups of three, thus allowing for three 3-way, one 5-way/ one 3-way or one 7-way multiple. The Multiple is passive, because the Make Noise system does not require Buffered Multiples since all critical control signals are already buffered in such a way as to provide a large fan-out capability.